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Teatr bieżącej interwencji w rozpoznaniu teoretycznym

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Kostaszuk-Romanowska M.
Białostockie Studia Literaturoznawcze
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2014
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vol. 5
EN
The subject of this text is a particular type of an engaged theatre, which the author defines as the theatre of immediate intervention. Referring to opinions of theoreticians, but also critics and theatrical artists, she makes an attempt at establishing its definition. She discusses two most important determinants of this model of theatre: the formula of being up-to-date and the principle of “fast reaction” to current social problems.
2
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Estetické studie Gustava Adolfa Lindnera

100%
Zumr J.
Filosofický časopis (Philosophical Journal)
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2008
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vol. 56
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issue 3
397-405
EN
The article begins with a short biography of the important Czech philosopher, pedagogue and psychologist G. A. Lindner (1828–1887). Lindner’s work on the relation of aesthetics and the theory of theatre is then analysed. His views on aesthetics took their rise from the standpoint of J. F. Herbart, and, in agreement with him, Lindner prioritised aesthetics over ethics and rejected any kind of aesthetical normativism. He placed emphasis on the creative freedom of the artist, even as far as mimesis is concerned. Friedrich Schiller, with his theory of art as play, was his model. In conclusion the article takes up the question of Lindner’s views on the educational function of drama and his own creative work in theatre.
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Jan Mukařovský and theatre

75%
Sládek O.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2014
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vol. 17
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issue 2
122-136
EN
Jan Mukařovský (1891−1975) has played a prominent and unique role in the history of Czech Structuralism. He is the author of numerous theoretical and overview works on theatre and dramatic art, but only a part of it is widely known and commented on. This gives rise to the impression that Mukařovský dealt with theatre in bursts only, in fact producing only the occasional text. However, the opposite is true: published studies are just a fragment of his actual, systematic work developed in the field of study of dramatic art and aesthetics of drama. The entire collection of Mukařovský's texts dealing with theatre and dramatic art can be classified into six main types according to their theme and genre:1) Literary-aesthetic criticism of specialized works on drama and dramatic art, 2) Theatre criticism, 3) Articles on plays and dramatists, 4) Theoretical and overview studies, 5) Lectures, 6) Various – dealing with theatre and dramatic art. The main aim of this study is not to provide a complete and exhaustive account of Mukařovský's studies on theatre and dramatic art, but rather to identify their most important characteristics, mutual relations, the circumstances in which they were produced and the broader context. The author of the study argues that a) Mukařovský's interest in theatre and stage speech was always an integral part of his research into poetics, aesthetics and semiotics of art, and b) despite several internal contradictions, his scientific orientation is in principle continuous.
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